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broadway, ludgate hill 
New York: 9 Lafayette Place 










II. Ball-eoo:j: Toillette (Ladies) ... 12 
„ „ (Gextlemex) 14 

III. Etiquette or the Ball-eoom ... 15 

IV. The Quadeille 21 

V. The Caledonians , 28 

YI. The Lance ks SO 

VII. The Double Lancers 36 

VIII. Coulon's Double Quadrille 38 

IX. The Polka 41 

X. The Cellarius 49 

XI. The Mazurka Quadrille ... ... 54 

XII. Tns Polka Mazurka 58 

XIII. TnE Redowa, or Redova 59 

XIV. The Schoitische ... 61 

XV. The Vaesoviana, or Varsoyienne ... G4 

XVI. The Gorlitza 65 

XVIL The Valse a Teois Temps 68 

XVIIL The Valse a Deux Temps 72 

XIX. The New Valse ... 76 

XX. The Galop 77 

XXL The Cotillon 73 

XXIL The Spanish Dance 84 

XXIII. The Tempete S6 

XXIV. Sir Roger de Coverlet 90 

XXV. Glossary of Terms used in Dancing 93 


As THE number of guests at a diiiner-party 
is regulated by the size of the table, so should 
the number of invitations to a ball be limited 
by the proportions of the ball-room. A pru- 
dent hostess will always invite a few more 
guests than she really desires to entertain, 
in the certainty that there will be some de- 
serters when the appointed evening comes 
round; but she will at the same time re- 
member that to overcrowd her room is to 
spoil the pleasure of those who love dancing, 



and that a party of this kind when too nu- 
merously attended is as great a failure as 
one at which too few are present. 

A room which is nearly square, yet a little 
longer than it is broad, will be'^found the 
most favourable for a ball. It admits of two 
quadrille parties, or two round dances, at 
the same time. In a perfectly square room 
this arrangement is not so practicable or 
pleasant. A very long and narrow room is 
obviously of the worst shape for the purpose 
of dancing, and is fit only for quadrilles and 
country dances. 

The top of the ball-room is the part 
nearest the orchestra. In a private room, 
the top is where it would be if the room 
were a dining-room. It is generally at the 
farthest point from the door. Dancers should 
be careful to ascertain the top of the room 
before taking their places, as the top couples 
always lead the dances. 

A ^ood floor is of the last importance in 
a ball-room. In a private house, nothing 
can be better than a smooth, well-stretched 
holland, with the carpet beneath. 


Abundance of light and free ventilation 
are indispensable to the spirits and comfort 
of the dancers. 

Good music is as necessary to the pros- 
perity of a ball as good Tvine to the ex- 
cellence of a dinner. No hostess should 
tax her friends for this part of the entertain- 
ment. It is the most injudicious economy 
imaginable. Ladies who would prefer to 
dance are tied to the pianoforte ; and as few 
amateurs have been trained in the art of 
playing dance music with that strict atten- 
tion to time and accent which is absolutely 
necessary to the comfort of the dancers, a 
total and general discontent is sure to be the 
result. To play dance music thoroughly 
well is a branch of the art which requires 
considerable practice. It is as different from 
every other kind of playing as whale fishing 
is from fly fishing. Those who give private 
balls will do well ever to bear this in mind, 
and to provide skilled musicians for the 
evening. For a small party, a piano and 
cornopean make d very pleasant combination. 
Unless where several instruments are engaged 


we do not recommend the introduction of 
the violin : although in some respects the 
finest of all solo instruments, it is apt to 
sound ^ thin and shrill when employed on 
mere inexpressive dance tunes, and played 
by a mere dance player. 

Invitations to a ball should be issued in 
the name of the lady of the house, and 
written on small note paper of the best 
quality. ^ Elegant printed forms, some of 
them printed in gold or silver, are to be 
had at every stationer's by those who prefer 
them. The paper may be^gilt-edged, but not 
coloured. The sealing-wax used should be 
of some delicate hue. 

An invitation to a ball should be sent 
cut at least ten days before the evening 
appointed. A fortnight, three weeks, and 
even a month may be allowed in the way of 

Not more than two or three days should 
be permitted to elapse before you reply to 
an 'invitation of this kind. The reply should 
always be addressed to the lady of the house, 
and should be couched in the same person as 


the invitation. The following are the forms 
generally in use : — 

Mrs. Molyneux requests the honour of Captain 
Hamilton's company at an evening party, on Mon- 
day, March the 11th instant. 

Dancing tvill begin at Nine o'clock. 

Thursday, March 1st. 

Captain Hamilton has much pleasure in accepting 
Mrs. Molyneux's polite invitation for Monday even- 
ing, March the 11th instant. 

Friday, March 2nd. 

The old form of '^presenting compliments" 
is now out of fashion. 

If Mrs. Molyneux writes to Captain Ha- 
milton in the first person, as My dear Sir," 
he is bound in etiquette to reply " My dear 

The lady who gives a ball* should endea- 
vour to secure an equal number of dancers 
of botli sexes. Many private parties are 
spoiled by the preponderance of young ladies, 
some of whom never get partners at all, 
unless they dance with each other. 

* It will be understood that we use the word 
"ball" to signify a private party where there is 
dancing, as well as a public ball. 



A room should in all cases be provided for 
the accommodation of the ladies. In this 
room there ought to be several looking- 
glasses ; attendants to assist the fair visitors 
in the arrangement of their hair and dress ; 
and some place in which the cloaks and 
shawls can be laid in order, and found at 
a moment's notice. It is well to affix 
tickets to the cloaks, giving a duplicate at 
the same time to each lady, as at the public 
theatres and concert-rooms. Needles and 
t]>read should also be at hand, to repair any 
little accident incurred in dancing. 

Another room should be devoted to re- 
freshments, and kept amply supplied with 
coffee, lemonade, ices, wine, and biscuits 
during the evening. Where this cannot be 
arranged, the refreshments should be handed 
round between the dances. 

The question of supper is one which so 
entirely depends on the means of those who 
give a ball or evening party, that very little 
can be said upon it in a treatise of this 
description. Where money is no object, it is 
of course always preferable to have the whole 



supper, "with all appliances and means to 
boot/' sent in from some first-rate house. It 
spares all trouble whether to the entertainers 
or their servants, and relieves the hostess 
of every anxiety. Where circumstances 
render such a course imprudent, we would 
only observe that a home-provided supper, 
however simple, should be good of its kind, 
and abundant in quantity. Dancers are gene- 
rally hungry people, and feel themselves much 
aggrieved if the supply of sandwiches proves 
unequal to the demand. Great inconvenience 
is often experienced by the difficulty of pro- 
curing cabs at the close of an evening party. 
Gentleman who have been dancing, and 
are unprepared for walking, object to go 
home on foot, or seek vehicles for their 
wives and daughters. Temale servants who 
have been in attendance upon the visitors 
during a whole evening ought not to be sent 
out. If even men-servants are kept, they 
may find it difficult to procure as many cabs 
as are necessary. The best thing that the 
giver of a private ball can do under these 
circumstances, is to engage a policeman wiih 



a lantliorn to attend on the pavement during 
the evening, and to give notice during the 
morning at a neighbouring cab-stand, so as 
to ensure a sufficient number of vehicles at 
the time when they are likely to be required. 

II. — Ball-room Toilette. 

The style of a lady's dress is a matter so 
entirely dependent on age, means, and fashion, 
that we can offer but little advice upon it. 
Eashion is so variable, that statements which 
ai*e true of it to-day may be false a month 
hence. Respecting no institution of modern 
society is it so difficult to pronounce haK a 
dozen permanent rules. 

so with diffidence. Kich colours harmonise 
with rich brunette complexions and dark 
hair. Delicate colours are the most suitable 
for delicate and fragile styles of beauty. 
Very young ladies are never so suitably at- 

wear dresses of light and diaphanous mate 


Ladies who dance should 



rials, such as tulle, gauze, crape, net, &c., 
over coloured silk slips. Silk dresses are not 
suitable for dancing. A married lady who 
dances only z few quadrilles may wear a de- 
colletee silk dress with propriety 

Very stout persons should never wear 
white. It has the effect of adding to the 
bulk of the figure. 

Black and scarlet, or black and violet, are 
worn in mourning. 

A lady in deep mourning should not dance 
at all. 

However fashionable it may be to wear 
very long dresses, those ladies who go to a 
ball with the intention of dancing and enjoy- 
ing the dance, should cause their dresses to 
be made short enough to clear the ground. 
We would ask them whether it is not better 
to accept this slight deviation from ?.n absurd 
fashion, than to appear for three p[irts of the 
evening m a torn and pinned-up skirt ? 

Well-made shoes, whatever tlieir colour 
or material, and faultless gloves, are indis- 
pensable to the effect of a ball-room toilette. 

Much jewellery is out of place in a ball- 



room. Beautiful flowers, whether natural or 
artificial, are the loveliest ornaments that a 
lady can wear on these occasions. 


A black suit, thin enamelled boots, a 
white neckcloth, and white or delicate grey 
gloves, are the chief points of a gentleman's 
ball-room toilette. He may wear an em- 
broidered shirt ; and his waistcoat may be 
of silk. White waistcoats are no longer 
fashionable. Much display of jewellery 
is no proof of good taste. A handsome 
watch-chain, with, perhaps, the addition of a 
few costly trifles suspended to it, and a set 
of shirt-studs, are the only adornments of 
this kind that a gentleman should wear. 
The studs should be small, but good.* 

A gentleman's dress is necessarily so simple 
that it admits of no compromise in point of 
quality and style. The material should be 
the best that money can procure, and the 
fashion unexceptionable. So much of the 

• Eoutledge's "Etiquette for Gentlemen," Sec. VII. 



outward man depends on his tailor, that we 
would urge no gentleman to economise in 
this matter. 

III. — Etiquette of the Ball-room.* 

On entering the ball-room, the visitor 
should at once seek the ladj of the house, 
and pay his respects to her. Having done 
this, he may exchange salutations with such 
friends and acquaintances as may be in the 

If the ball be a public one, and a gentle- 
man desires to dance with any lady to whom 
he is a stranger, he must apply to the master 
of the ceremonies for an introduction. 

Even in private balls, no gentleman can 
invite a lady to dance without a previous 
introduction. Tliis mtroduction should be 
effected through the lady of the house, or a 
member of her family. 

No lady should accept an invitation to 
dance from a gentleman to whom she has 

* See Routledge's "Etiquette for Ladies," and 
' Etiquette for Gentlemen," Sec. IX. 


ball-eooij: guide. 

not been introduced. In case any gentleman 
should commit the error of so inviting her, 
she should not excuse herself on the plea of 
a previous engagement, or of fatigue, as to 
do so would imply that she did not herself 
attach due importance to the necessary cere- 
mony of introduction. Her best reply would 
be to the effect that she would have much 
pleasure in accepting his invitation, if he 
would procure an introduction to her. This 
observation may be taken as applying only 
to public balls. At a private party the 
host and host-ess are sufficient guarantees 
for the respectability of their guests; and 
although a gentleman would show a singular 
want of knowledge of the laws of society in 
acting as we have supposed, the lady who 
should reply to him as if he were merely an 
impertinent stranger in a public assembly- 
room, would be implying an affront to her 
entertainers. The mere fact of being as- 
sembled together under the roof of a mutual 
friend, is in itself a kind of general introduc- 
tion of the guests to each other. 

An introduction given for the mere purpose 



of enabling a lady and gentleman to go 
through a dance together, does not consti- 
tute an acquaintanceship. The lady is at 
liberty to pass the gentleman in the park 
the next day without recognition. 

No gentleman should venture to bow to a 
lady upon the strength of a ball-room intro- 
duction, unless she does him the honour to 
recognise him first. If he commits this 
solecism he must not be surprised to find 
that she does not return his salutation. 

No gentleman should accept an invitation 
to a ball if he does not dance. When ladies 
are present who would be pleased to receive 
an invitation, those gentleman who hold them- 
selves aloof are^ guilty, not only of a nega- 
tive, but a positive act of neglect. 

To attempt to dance without a knowledge 
of dancing is not only to make one's sell 
ridiculous, but one's ]Dartner also. No lady 
or gentleman has the right to place a partner 
in this absurd position. 

Never forget a ball-room engagement. 
To do so is to commit an unpardonable 
ofi'ence against good breeding. 




It iz not necessary that a lady or gentle- 
man slionld be acquainted with the steps, in 
order to walk gracefully and easily through 
a quadrille. An easy carriage and a know- 
ledge of the figure is all that is requisite. 
A round dance, however, should on no 
account be attempted without a thorough 
knowledge of the steps, and some previous 

No person who has not a good ear for 
time and tune need hope to dance well. 

At the conclusion of a dance, the gentle- 
man bovrs to his partner, and either prome- 
nades with her round the room, or takes her 
to a seat. Where a room is set apart for re- 
freshmejits, he offers to conduct her thither. 
At a p iblic ball no gentleman would, of 
course, permit a lady to pay for refreshments. 

IS'o lady should accept refreshments from 
a stranger at a public ball; for she woiild 
thereby lay herself under a pecuniary obliga- 
tion. For these she must rely on her 
fatlier, brothers, or old friends. 

Good taste forbids that a lady and gentle- 
man should dance too frequently together at 



either a public or private ball. Engaged 
persons should be cai'eful not to commit this 
conspicuous solecism. 

Engagements for one dance should not be 
made while the present dance is yet in pro- 

If a lady happens to forget a previous 
engagement, and stand up with anothei 
partner, the gentleman whom she has thus 
slighted is bound to believe that she has 
acted from mere inadvertence, and should by 
no means suffer his pride to master his good 
temper. To cause a disagreeable scene in s. 
private ball-room is to affront your host and 
hostess, and to make yourself absurd. In a 
public room it is no less reprehensible. 

Always remember that good breeding and 
good temper (o" the appearance of good 
temper) are insepdrably connected. 

Young gentlemen are earnestly advised 
not to limit their conversation to remarks on 
the weather and tiie heat of the room. It 
is, to a certain extent, incumbent on them 
to do sometliing more than dance when they 
invite a l>dy to join a quadrille. If it be 

c ? 


only upon the news of the day, a gentleman 
should be able to offer at least three or four 
observations to his partner in the course of 
a long half-hour. 

Gentlemen who dance cannot be too care- 
ful not to injure the dresses of the ladies 
who do them the honour to stand up with 
tliem. The young men of the present day 
are singularly careless in this respect ; and 
when they have torn a lady's delicate skirt, 
appear to think the mischief they have done 
scarcely worth the trouble of an apology. 

A gentleman conducts his last partner to 
the supper-room, and having waited upon her 
while there, re-conducts her to the ball-room. 

Never attempt to take a place in a dance 
which has been previously engaged. 

Withdraw from a private ball-room as 
quietly as possible, so that your departure 
may not be observed by others, ana cause 
the party to break up. If you meet the 
lady of the house on her way out, take your 
leave of her in such a manner that her oth£r 
guests may not suppose you are doing so ; 
out do not seek her out for that purpose. 



Never be seen without gloves in a iJcill- 
room, though it were only for a few moments. 
Those who dance much and are particularly 
soir;?ie in matters relating to the toilette, take 
a second pair of gloves to replace the first 
when soiled. 

A thoughtful hostess will never introduce 
a bad dancer to a good one, because she has 
no right to punish one friend in order to 
oblige another. 

It is not customary for married persons to 
dance together in society. 

lY. — The Quadrille. 

The Quadrille is the most universal, as it 
is certainly the most sociable, of all fashion- 
able dances. It admits of pleasant conver- 
sation, frequent interchange of partners, and 
is adapted to every age. The young or old, 
the ponderous paterfamilias or his sylph- 
like daughter, may with equal propriety take 
part in its easy and elegant figures. Even 
an occasional blunder is of less consequence 
in tliis dance than in many others ; for each 



personage is in some dej^ree free as to his 
own movements, not beins^ compelled by the 
continual embrace of his partner to dance 
either better or worse than iie may find con- 

People now generally walk through a 
quadrille. Nothing more than a perfect 
knowledge of the figure, a graceful demean- 
our, and a correct ear for the time of the 
music are requisite to enable any one to take 
a creditable part in this dance. Steps are 
quite gone out of fashion : even the chasse 
has been given up for some time past. 

A quaarille must always consist of five 
parts. If a variation be made in the fourth 
figure, by the substitution of Pastorale for 
Trenise, the latter must then be omitted ; or 
vice versa. As soon as a gentleman has 
engaged his partner for the quadrille, he 
shoJild endeavour to secure as his vis-a-vis 
some friend or acquaintance ; and should 
then lead his partner to the top of the quad- 
rille, provided that post of honour be still 
vacant. He will place the lady always at his 
right hand. 



Quadrille music is divided into eight bars 
for each part of the figure ; two steps should 
be taken in every bar; every movement thus 
invariably consists of eight or of four steps. 

It is well not to learn too many new 
figures : the memory is liable to become con- 
fused amongst them ; besides which, it is 
doubtful whether your partner, or your vis-a- 
vis, is as learned in the matter as yourself. 
Masters are extremely fond of inventing and 
teaching new figures ; but you will do well 
to confine your attention to a few simple and 
universally received sets, which you will find 
quite sufficient for your purpose. We begin 
with the oldest and most common, the 


iTirst ifisure.— 2Le iPantalon. 

The couples at the top and bottom of the 
quadrille cross to each other's places in 
eight stej)s, occupying four bars of the time ; 
re-cross immediately to their own places, 
which completes the movement of eight bars. 
This is called the Chaine Anglaise, The 



gentleman always keeps to the right of vts- 
a-vis lady iu crossing, thus placing her inside. 

Set to partners, or halancez ; turn your 
partners. (This occupies the second eight 
iars.) Ladies chain, or cliaine des dames, 
(Eight hars more.) Each couple crosses to 
opposite couple's place, gentleman ffiving his 
hand to his partner : this is called half- 
promenade. Couples recross right and left 
to their places, without giving hands, which 
completes another eight bars, and ends the 

The side couples repeat what the top and 
bottom couples have done. 

^econU ifi'gtire.— H'Ete. 

The ladies in all the top couples, and their 
vis-a-vis gentlemen, advance four steps, and 
retire the same, repeating this movement 
once again, which makes the first eight bars. 

Top ladies and vis-a-vis gentlemen cross to 
each other's places ; advance four steps ; 
retreat ditto ; cross back towards partners, 
who set to them as they advance ; turn 
partners; which ends first half of figure. 



Second ladies and top vis-a-vis jorentlemen 
execute the same movements. Then side 
couples begin, the privilege of commence- 
ment being conferred on those ladies who 
stand at the right of the top couples. 

This figure is sometimes performed in a 
different manner, known as double VEte. 
Instead of the top lady and vis-a-vis gentle- 
man advancing alone, they advance with 
partners, joining hands ; cross, and return, 
as in the single figure. This variation is, 
however, somewhat out of vogue, except (as 
will presently be seen) in the last figure of 

Top lady and vis-a-vis gentleman cross to 
each other's places, giving right hand in 
passing ; cross back again with left hand. 
(Eight bars.) The two couples form in a line, 
and join hands, the left hand of one holding 
the right hand of his or her neighbour, so 
that each faces different ways ; in this posi- 
tion all four halancez, then half promenade 


ball-room: guide. 

with partner to opposite place ; top ladv 
and vis-a-vis gentleman advance four steps 
and retire ditto. (2ud eight bars.) Both 
top and bottom couples advance together, 
and retire the same ; then re-cross right and 
left to places. (3rd eight bars.) Second 
lady and first opposite gentleman repeat 
figure. Side couples repeat, observing same 
rule for commencement as in UEte. 

Jfourtfj JTigure.— Ea STrenisc. 

Top couples join hands, advance four steps 
and retreat ditto ; advance again, gentleman 
leaving lady at left hand of vis-a-vis gentle- 
man, and retiring alone. (1st eight bars.) 
Two ladies advance, crossing to opposite 
side ; gentleman advances to meet his partner, 
vis-a-vis lady returns to hers. (2nd eight 
bars.) Balancez ; turn partners to places. 
(3rd eight bars.) Second couple performs 
same figure ; side couples repeat as before. 

If La Pastorale be preferred, it will be 
performed thus : — Top couples advance and 
retreat ; advance, gentleman leading lady 
to left hand of vis-a-vis gentleman ; he 



advances wiHi botli ladies four steps, retreat- 
ing: ditto ; ap^ain advancin^^, he leaves both 
ladies with first c^entleman, retreating alone ; 
top gentleman and both ladies advance and 
retreat ; again advance, joining hands in 
■circle, go half round, half promenade to 
opposite places, then return right and left to 
their own.- Second couples and side couples 
repeat as before. 

iriftfj fyuxt.—%a JTinak. 

Begin with the grand rond or great round ; 
that is, the whole quadrille; first and second 
couples and sides join hands all round, 
advance four steps, and retreat ditto. VUte 
is now sometimes introduced, the grand rond 
being repeated between each division of the 
figure. But it gives a greater variety and 
brio to the quadrille if, after the first grand 
rond, the following figure be performed, the 
galop step being used throughout. Each 
gentleman (at top and bottom couples) takes 
liis lady round the waist, as for the galoj) ; 
advance four steps, retreat ditto, advance 
again, cross to opposite places ; advance. 



retreat, re-cross to own places. Ladies 
chain ; half promenade across ; half right 
and left to places ; grand ro7id. Side couples 
repeat figure. Grand rond between each 
division and at the conclusion. Bow to 
your partners, and conduct your lady to seat. 

v.— The CaledoniajS's. 

This quadrille has within the last few 
years become more fashionable than formerly. 
But it is not so frequently danced as the 
Lancers, still less as the Tirst Set of Quad- 
rilles. Each set can consist only of eight 
couples, differing m this repeat from the 
simple quadrille, which admits of an inde- 
finite number of couples. 

\d Figure. — Top and opposite couples 
hands across ; then back again ; halancez 
and turn partners ; chaine des dames ; half 
promenade across ; half right and left to 

'^nd Figure. — Top gentleman advances and 
retreats twice. Balancez to corners and 
turn, each lady passmg to her next neigh- 



hour's place. Having clianged your partner, 
all promenade quite round. Second, third, 
and fourth gentlemen repeat same figure; 
thus all have regained their places. ^ 

'^rd Figure. — Top lady and vis-a-vis gen- 
tleman advance and retreat twice. 

Top couple join hands and cross over ; 
opposite couple cross likewise, separately, 
allowing top couple to pass between them ; 
then top couple re-cross to places, separately, 
leaving the second couple (who re-cross with 
joined hands) inside. 

Balancez to corners and turn your neigh- 
bour's partner ; back to places. All four 
couples, joining hands in circle, advance and 
retreat twice. Same figure repeated by second 
and side couples. 

Mh Figure. — Top lady and vis-a-vis gentle- 
man advance four steps; second lady and 
her vis-a-vis then do the same ; each couple 
turns partner back to places. Ladies iii 
all four couples move four steps to the 
right, each taking her neighbour's place ; 
gentlemen then move four steps to the 
left, each into next neighbour's place. 



Ladies again to the riglit ; gentlemen again 
to the left. Promenade round, turn y)avtners 
to places. Second and side couples repeat 
in succession. 

5M Figure. — Pirst couple prom.enade round 
inside the quadrille. Four ladies advance, 
courtesy to each other, and retire ; four 
gentlemen advance, bow, and retire. Ba- 
lancez and turn partners. Grand cliain half 
way round. All promenade to places, and 
turn partners. All chassez croisez, ladies 
right, gentlemen left, (behind their partners) 
and back again to places. Second and side 
couples repeat as before. Promenade all 
round for finale. 

VI. — The Laxcers. 

The Lancers Quadrille is perhaps the most 
graceful and animated of any. Within the 
last few years it has became a great favourite 
in fashionable circles, probably owing to its 
revival at the state balls of Her Majesty. 
It admits of much skill and elegance in 
executing its quick and varied figures^ a 


correct acquaintance witli wliicli is abso- 
lutely requisite to all who take part in it. 
Unlike the common quadrille, the Lancers 
must be danced by four couples only in 
each set ; though of course there can be 
many sets dancing at the same time. The 
number being so limited, one awkward or 
Ignorant person confuses the whole set ; 
therefore, it is indispensable that every one 
who dances in this quadrille should have a 
thorough mastery of its graceful intricacies. 
We have observed that of late it has become 
the fashion to substitute new tunes for the 
old well-known music of the Lancers Quad- 
rille. We cannot consider this an improve- 
ment. The old simple melodies are peculiarly 
fitted to the sprightly, joyous character of 
the dance ; which is more than can be said 
for any of the modern substitutes. When 
these are used, the Lancers, in our opinion, 
loses its individuality and spirit, becoming 
almost like a common quadrille. We should 
be heartily glad to see the old tunes restored 
once for all to their riditful supremacy. 
The sets of four couples, top, opposite. 



and sides, having been arranged, the dance 
begins as follows : — 

1st ligiire. — ilrst ladj and opposite gen- 
tleman advance and retreat ; advance again, 
joining their hands; pass round each other 
and back to places. (1st eight bars.) Top 
couple join hands, and cross, opposite couple 
crossing at the same time, separately, outside 
them ; the same reversed, back to places. 
(2nd eight bars.) All the couples halancez 
to corners ; each gentleman turns his neigh- 
bour's partner back to places. (8rd eight 
bars.) Second couple repeat figure from 
begimiing ; after them side couples, those 
who stand to the right of top couple having 
always the priority, as in the common quad- 

^nd Figure. — Eirst couple advance and 
retreat, gentleman holding lady's left hand ; 
advance again ; gentleman leaves his partner 
in the centre of the quadrille, and retires to 
place. (1st eight bars.) Balancez to each 
other and turn to places. (2nd eight bars.) 
Side couples join first and second couples, 
forming a line of four on either side. Each 



line advances four steps, retreats ditto ; then 
advances again, each gentleman reclaiming his 
partner, and all turn to places. Second and 
side couples repeat figure in succession. 

3rfi? Figure, — First lady advances four steps 
alone, and stops ; vis-a-vis gentleman does 
the same ; first lady retires, facing gentleman, 
to whom she makes a slow profound courtesy. 
(The courtesy must occupy a bar or two of 
the music ; and as, if made with grace and 
dignity, it is most efi^ective, we would recom- 
mend ladies to practice it carefully before- 
hand.) The gentleman at the same time 
bows and retires. (1st eight bars.) All four 
ladies advance to centre, give right hands 
across to each other (which is called the 
double chain), and left hand to vis-a-vis gen- 
tleman; then back again, left hands across 
in the middle, and right hands to partners 
back to places. (2nd eight bars.) Second 
and side couples repeat figure from com- 

A more recent fashion for dancing this 
figure is as follows : — Instead of one lady 
advancing at first, all four advance, and 


courtesy to each other ; then turn and courtesy 
to their partners. Ladies do the moulinet in 
the centre ; that is, give right hands across 
to each other, and naif round; left hands 
back again, and return to places. Gentle- 
men meantime all move round outside the 
ladies, till each has regained liis place. 
Figure as usual repeated four times ; but 
the second and fourth time the gentlemen ad- 
varce instead of the ladies, and bow, first to 
each other, then to their partners ; continu- 
ing as before through the rest of the figure. 

figure — Top gentleman, taking part- 
ner's left hand, leads her to the couple on 
their right, to whom they bow and courtesy 
(which civility must be met with the like 
acknowledgment), then cross quickly to 
fourth couple, and do the same. (1st eight 
bars.) All four couples chassez croisez right 
and left, (gentleman mvariably passing behind 
his partner) then turn hands {tour des mains) 
back to places. (2nd eight bars.) First 
and opposite couples right and left across 
and back again to places. (3rd eight bars.) 
Seoond and sides repeat as usual 


^th Figure. — This figure commences with 
the music. Each couple should stand ready, 
the gentleman facing his partner, his right 
hand holding hers. If every one does not 
start directly the music begins, and does not 
observe strict time throughout, tliis some- 
what intricate figure becomes hopelessly em- 
barrassed ; but, when well danced, it is the 
prettiest of the set. It commences with the 
grande chaine all round; each gentleman 
giving his right hand to his partner at start- 
ing, his left to the next lady, then his right 
again, and so all round, till all have returned 
to their places. (This occupies sixteen bars 
of the nmsic.) First couple promenade in- 
side figure, returning to places with their 
backs turned to opposite couple. The side 
couple on their right falls in immediately be- 
hind them ; the fourth couple follows, the 
second couple remaining in their places. A 
double line is thus formed — ladies on one 
side and gentlemen on the other. (3rd eight 
bars.) All chassez croisez, ladies left, gentle- 
men right, behind partners. First lady leads 
off, turning sliarply round to the right ; first 

D 2 


ball-eoo:m guide. 

gentleman does the same to the left, meet- 
ing at the bottom of the quadrille, and pro- 
menade back to places. All the ladies follow 
first ladj ; all the gentlemen follow first gen- 
tleman ; and as each meets his partner at the 
bottom of the figure, tliej touch hands, then 
fall back in two lines — ladies on one side, 
gentlemen on the other — facing each other. 
(4th eight bars.) Eour ladies jom hands, 
advance and retreat ; four gentlemen ditto 
at the same time ; then each turns his 
partner to places. (5th eight bars.) Grande 
chaine agam. Second and side couples re- 
peat the whole figure in succession, each 
couple taking its turn to lead off, as the first 
had done. Grande chaine between each figure 
and in conclusion. 

YII. — The Lancers for Sixteen, oe 
Double Lancers. 

1^^ Figure. — Two first ladies and vis-a-vis 
gentlemen begin at the same moment, and 
go through the figure as in Single Lancers. 
All balancez to corners ; in other words, each 

ball-roo:m guide. 


lady sets to gentleman at lier riglit, ^vho 
turns her to her place. Second couples and 
sides repeat as usual. 

2nd Figure— Yw^t couples advance, re- 
treat, advance again, leaving ladies in centre ; 
set to partners and turn to places. Two side 
couples nearest first couples join them ; two 
side couples nearest second couples do the 
same, thus forming eight in each line. They 
all advance and retreat, holding hands, then 
turn partners to places. Repeated by second 
and side couples as usual. 

ord Figure. — Pirst ladies advance and 
stop ; vis-a-vis gentlemen ditto ; courtesy 
profoundly, bow, and back to places. Ladies 
do the moulinet, gentlemen go round outside, 
and back to places. Or, ladies advance and 
courtesy to each other and then to partners ; 
gentlemen doing the same when the second 
and fourth couples begin the figure, as in 
Single Lancers. 

4ith Figure. — Eirst couples advance to 
couples on their right ; bow and courtesy ; 
cross to opposite side, bow and courtesy, 
chassez croisez^ and return to place? ^li^ht 



and left to opposite places, and back again. 

Second couples and sides repeat figure. 

^th Figure. — Grande chains all round, 
pausing at the end of every eight bars to 
bow and courtesy ; continue chaine back to 
places, which will occupy altogether thirty- 
two bars of the music. Figure almost the 
same as in Single Lancers. Both first couples 
lead round, side couples falling in behind, 
thus forming four sets of lines. Eigure re- 
peated by second and side couples ; grande 
chaine between each figure and at the con- 

Yni. — Coulon's Double Quadrille. 

This quadrille contains the same figures as 
tlie common quadrille, but so arranged that 
they are danced by four instead of two 
couples. All quadrille music suits it ; and 
it occupies just half the time of the old 
quadrille. It makes an agreeable variety in 
the movements of the dance, and is easily 
learned. It requires four couples. 



First and second couples right and left, 
whilst side couples dance the chaine Anglaise 
outside them. All four couples set to part- 
ners and turn them. Eour ladies form ladies* 
chain, or hands across in the middle of the 
figure, giving first right hands, and then left, 
back to places. Half promenade, first and 
second couples do chaine Anglaise^ while side 
couples do grande chaine round them. This 
leaves all in their right places, and ends 

First lady, and lady on her ri^ht hand, 
perform the figure with their vis-a-vis gen- 
tlemen, as in common UEte ; taking care, 
when they cross, to make a semicircle to 
the left. Second couple and second side 
couple repeat figure, as in common HEtL 

Top lady and vis-a-vis gentleman, lady at 
at her right, and her opposite gentleman, 
perform figure at the same time, setting to 
each other in two cross lines. Other couples 
follow as usual. 



The first and opposite couples dance the 
figiire, not with each other, but with the 
couples to their right. The latter do the 
same with first and second couples. 

Galopade all round. Top and opposite 
couples galopade forwards, and retreat. As 
they retreat side couples advance ; and, as 
they retreat in their turn, first and second 
couples galopade to each otheis place. Side 
couples the same. Eirst and second couples 
advance again; side couples the same as 
the others retreat ; first and second back to 
places as side couples retreat. Side couples 
back to places. Double chaine des dameSy 
and galopade all round. Then side couples 
repeat figure as usual, and galop all round in 

It is requisite to keep correct time and 
step in this quadrille, which would otherwise 
become much confused. 



IX —The Polka. 

The origin of this once celebrated dance 
is difficult to ascertain. It is believed by 
some to be of great antiquity, and to have 
been brought into Germany from the East. 
Others affirm that its origin is of more recent 
date, and its birthplace considerably nearer 
home. An authority on these matters re- 
marks : In spite of what those professors 
say who proclaim themselves to have learnt 
the Polka in Germany, or as being indebted for 
it to an Hungarian nobleman, we are far from 
placing confidence in their assertions. In 
our opinion Paris is its birthplace, and its 
true author, undoubtedly, the now far-famed 
Monsieur CeDarius, for whom this offspring 
of his genius has gained a European cele- 

Whatever we may be inclined to believe 
with regard to this disputed question, there 
can be no doubt of the wide-spread popularity 
which for many years was enjoyed by the 
Polka. When first introduced, in 1843, it 
was received with enthusiasm by every cap- 



ital in Europe; and it effected a complete 
revolution in the style of dancing which had 
prevailed up to that period. A biisk, lively 
character was imparted even to the steady- 
going quadrille ; the old False a Trois Temps 
was pronounced insufferably ''slow;'' and its 
brilliant rival, the Valse a Deux Temps, which 
had been recently introduced, at once estab- 
lished the supremacy which it has ever since 
maintained. The galop, which had been until 
this period only an occasional dance, now 
assumed a prominent post in every ball-room, 
dividing the honours with the valse. 

But all these dances, though modified in 
character by the introduction of the Polka, 
were for a time thrown into the shade by 
this new claimant upon public favour. Its 
popularity was unrivalled in the annals of 
dancing. Rich and poor, young and old, 
grave and gay, all were alike smitten by the 
universal Polka mania. All flocked to take 
lessons in this new and fascinating dance; 
and the professors of its mysteries fairly 
divided public attention with the members 
of the Aiiti-Corn-Law l*eague, then holding 



their meetings at Drury Lane Theatre. We 
will even go so far as to say chat Messrs. 
Bright and Cobden were scarcely more 
anxious to destroy the vexatious corn laws 
than were these wortliy Polka-maniacs to 
, create cor 71 laws of their own, which, if more 
[ innocent, were equally undesirable. 
, Tor many years tlie Polka maintained it& 
j position as the universal favourite; but 
during the last five or six seasons its popu- 
' larity has slowly but surely declined. It is 
never danced now in the ball-rooms of the 
i aristocracy, but the middle classes have not 
! yet quite discarded their old friend, though 
even amongst their programmes its name 
rarely occurs. 

Perhaps no dance affords greater facilities 
I for the display of ignorance or skill, elegance 
or vulgarity, than the Polka. The step is 
simple and easily acquired, but the method 
of dancing it varies ad infinitum. Some 
persons race and romp through the dance 
! in a manner fatiguing to themselves and 
dangerous to their fellow-dancers. Others 
(though this is more rare) drag their partner 



listlessly along, vriih a sovereign contempt 
alike for the requirements of the time and 
the spirit of the music. Some gentlemen 
hold their partner so tiglit that she is half 
suffocated; others hold her so loosely that 
she continually slips away from them. All 
these extremes are equally objectionable, and 
defeat the graceful intention of the dance. 
It should be performed quietly, but with 
spirit, and alicays in strict time. The head 
and shoulders should be kept still, not jerked 
and turned at every step, as is the manner 
of some. The feet should glide swiftly along 
the floor — not hopping or jumping as if the 
boards were red-hot. 

You should clasp your partner lightly but 
firmly round the waist with your right arm. 

Your left hand takes her right hand ; but 
beware of elevating your arm and hers in 
the air, or holding them out straight, which 
suggests the idea of windmills. 

Above all, never place your left hand on 
your hip or behind you. In the first place, 
you thus drag your partner too much for- 
ward, which makes her look ungraceful; m 



the next, tliis attit'iide is never used except in 
casinos, and it is almost an insult to intro- 
duce it in a respectable ball-room. 

Let the hand which clasps your partner's 
fall easily by your side in a natural position, 
and keep it tfiere. Your partner's left hand 
rests on your right shoulder ; her right arm 
is thrown a little forward tov^^ards your left. 

The Polka is danced in | time. There are 
three steps in each bar; the fourth beat is 
always a rest. The rhythm of the dance may 
be thus indicated : — 

the three steps being performed on the three 
first beats of every bar. It is next to im- 
possible to describe in words the step of the 
Polka, or of any circular dance : nothing but 
example can correctly teach it ; and although 
we shall do our best to be as clear as pos- 
sible, we would earnestly recommend those 
of our readers who desire to excel, whether 



in this or the following dances, to take a few 
lessons from some competent instructor. 

The gentleman starts with his lett foot, 
tlie lady with her right. We shall describe 
the step as danced by the gentleman: tlie 
same directions, reversing the order of the 
feet, will apply to the lady. 

Ist heat. — Spring slightly on right foot, at 
the same time slide left foot forward. 

%id heat. — Bring right foot forward by 
glissade, at the same time raising left foot. 

*6rd beat. — Bring left foot slightly forward 
and fall upon it, leaving right foot raised, 
and the knee slightly bent, ready to begin 
the step at the first beat of the next bar 

beat. — Bemain on left foot. Begin 
next bar with the right foot, and repeat the 
step to end of third beat. Begin the follow- 
ing bar with left foot ; and so On; commenc- 
ing each bar with right or left foot alter- 

The Polka is danced with a circular move- 
ment, like the Valse ; in each bar you half 
turn, so that, by the end of the second bar, 
you have brought your partner comnletely 



It was at first customary to promenade 
your partner round the room, doing a kind 
of balancez to eacli other in the Polka step 
before commencing the valse figure. But 
this fashion soon became antiquated, and has 
fallen into complete disuse. 

The circular movement of the Polka admits 
of two directions — from right or left or from 
left to ridit. The ordinary direction is from 
right to left. The opposite one is known as 
the reverse step. It is more difficult to 
execute, but is a pleasant change for skilled 
dancers, if they have become giddy from 
turning too long in one direction. 

In dancing the Polka, or any circular 
dance where a large number of couples are 
performing at the same time, the gentleman 
must be careful to steer his fair burden safely 
through the mazes of the crowded ball-room. 
A little watchfulness can almost always avoid 
collisions, and a good dancer would consider 
himself disgraced if any mishap occurred to 
a lady under his care. Keep a sharp look- 
out, and avoid crowded corners. Should eo 
Viany couples be dancing as to render such 



caution impossible, stop at once, and do not 
go on until the room has become somewhat 
cleared. In a few minutes others will have 
paused to rest, and you can then continue. 
Your partner will be grateful that your con- 
sideration has preserved her from the dismal 
plight in which we have seen some ladies 
emerge from this dance — their coiffeurs dis- 
ordered, their dresses torn, and their cheeks 
crimson with fatigue and mortification, while 
theu' indignant glances plainly showed the 
anger they did not care to express in words, 
and which their reckless partner had fully 
deserved. A torn dress is sometimes not the 
heaviest penalty incurred: we have known 
more than one instance where ladies have 
been lamed for weeks through the culpable 
carelessness of their partners ; their tender 
feet having been half crushed beneath some 
heavy boot in one of these awkward collisions. 
This is a severe price to pay for an evening's 
amusement, and gentlemen are bound tone 
cautious how they inflict it, or anything 
approaching to it, upon their fair companions. 
Ladies, on the other hand, will do well to 



remember that by leaning heavily upon their 
partner's shoulder, dragging back from his 
encircling arm, or otherwise impeding the 
freedom of his movements, they materially 
add to his labour and take from his pleasure 
in the dance. They should endeavour to lean 
as lightly, and give as little trouble, as pos- 
sible ; for, however flattering to the vanity of 
the nobler sex may be the idea of feminine 
dependence, we question whether the reality, 
in the shape of a dead weight upon their 
aching arms throughout a Polka or Valse of 
twenty minutes' duration, would be acceptable 
to even the most chivalrous amongst them. 

We have been thus minute in our instruc- 
tions, because they not only apply to the Polka, 
but equally to all circular dances where a 
great number stand up to dance at the same 
time. We now pass on to the 

X. — Cellarius Yalse, 

Sometimes called the Mazourka, though 
generally best known by the name of its 
inventor, Cellarius, of Paris. It was 



imported to England in 1845, two years after 
the introduction of the Polka ; and although 
it never attained so great a popularity as its 
predecessor, it was favourably received, and 
much danced in the best circles. Still it 
failed to achieve the decided success which 
might have been reasonably expected from 
its elegance and beauty. Perhaps one 
reason of this disappointing result was that 
many inefficient performers attempted to 
dance it before they had mastered its some- 
what difficult step, and brought it into 
disrepute by their ungraceful exihibitions. 
But the grand secret of its partial failure 
ky in the mania for rapid whirling dances, 
introduced by the Polka. While the rage 
for "fast dancing" continued, the measured 
grace of the Cellarius stood no chance. Now 
that it has at last happily abated, people are 
better prepared to appreciate the refined and 
quiet charm of this really beautiful valse. 
To dance it well requires some practice ; and 
particular attention must be paid to the 
carriage and position of the figure, since no 
dance is more thoroughly spoiled by an 
awkward, stift*, or stooping attitude. 



We proceed to describe the step, so far as 
it may be possible to do so in words; but 
we have an uneasy consciousness that all 
such descriptions bear a close resemblance 
to those contained in certain little volumes 
designed to instruct our fair readers in the 
mysteries of knitting, netting, and crochet. 
" Slip two, miss one, bring one forward" &c., 
may convey to the mind of the initiated a 
distinct idea of the pattern of a collar ; but 
are hardly satisfactory guides to the step of 
a valse. We must, however, do our best ; 
though again we would impress upon the 
reader the necessity of seeking further in- 
struction from a professor or experienced 

The time of the Cellarius Yalse is f, like 
the common valse ; but it should be played 
much more slowly ; if danced quickly, it 
becomes an unmeaning succession of hops, 
and its graceful character is destroyed. 

We describe the step as danced by the 
lady ; for the gentleman it will be the same, 
witli the feet reversed ; that is, for right foot 
read left, and so on. 

E 2 


ball-koom: guide. 

5irst 5tfp. 

1st and 2nd heat. — Spring on left foot, 
sliding forward right foot at the same time, 
and immediately let your weight rest on the 
forward foot. This occupies two beats. 

heat. — Spring on right foot ; this ends 
the bar. 

2nd hai\ 1st and 2nd heat. — Spring again 
on right foot, and slide forward left at same 
time. Rest on it a moment as before during 
second beat ; at third beat spring on it ; 
which ends second bar. Continue same step 
throughout. You will perceive that, at the 
first and third beat of the time, you hop 
slightly, restmg, during the second beat, on 
the foremost foot. 

1st heat. — Spring on left foot, slightly 
striking both heels together. 

2nd beat. — Slide right foot to the right, 
bending the knee. 

Zrd beat. — Bring left foot up to right foot 
«^ith a slight spring, raising right foot , 
which ends the first bar. 



2nd bar, 1st heat. — Spring again on left 
foot, striking it with heel of right. 

^ndbeat, — SKde rigiit foot to the right. 

2trd beat. — Fall on right foot, raising left 
foot behind it, which ends the second bar. 
Reverse the step by springing first on the 
right foot, and sliding the left, &c. The 
music generally indicates that this step 
should be repeated three times to the right, 
which occupies three bars ; then rest during 
the fourth bar, and return with reverse step 
to the left during the three bars which follow, 
resting again at the eighth bar. 

5rf)iri3 sup. 

\st beat. — Spring on left foot, and slide 
right foot to the right. 

2nd beat. — Rest on right foot. 

2>rd beat. — Spring on right foot, bringing 
left foot up behmd it, 

2nd bar, Ist beat. — Spring on right foot, 
sliding left foot to the left. 

2nd beat. — Rest on left foot. 

3r</ beat. — ^Hop on left foot, bringing right 
behind it, as before. Continue at pleasure. 



The first of these three steps is most 
commonly used in the valse ; but the second 
is an agreeable change for those who may 
have grown giddy or weary in doing the 
figure en tournant (circular movement). 

Ee careful not to exaggerate the sliglit 
hop at the first and third beats of each bar ; 
and to slide the foot gracefully forward, not 
merely to make a step, as some bad dancers 

XI. — The Mazourka. Quadeille. 

Those who have mastered the steps of the 
Cellarius will find little trouble in dancing 
this elegant quadrille. It lias five figures, 
and can be performed by any even number of 
couples. The music, like the step, is that of 
the Mazourka. The couples are arranged as 
in the ordinary quadrille. 

Join hands all romid ; grand rond to the 
left (four bars), then back agahi to the 
right (four bars), employing the second step 
of the Cellarius. Each couple does the 
'petit tour forwards and backwards, still usin^ 



the second step, and repeating it three 
times to the right — then resting a bar ; three 
times to the left — then resting another bar ; 
which occnpies eight bars of the music. 
These figures may be considered as prelimi- 
nary. We find the quadrille itself so well 
described in the work of a contemporary, 
that we cannot do better than extract the 
account in full, for the benefit of our readers, 

1^^ Figure. — Top and bottom couples right 
and left (eight bars), with Redowa step ;* 
then they advance, the ladies cross over, the 
gentlemen meanwhile pass quickly round 
each other, and return to own places (four 
bars) ; jietit tour foward with opposite ladies 
(four bars) ; right and left (eight bars) ; 
advance again; the ladies return to own 
places, and the gentlemen pass again round 
each other to their own ladies (four bars) ; 
'petit /o?^/' backward (four bars). Side couples 
do likewise. 

%id Figure, — (Eight bars rest.) Top and 

♦ This step \vill he found farther on in the book, 
under the head ot' the Kedowa Valse. 



bottom couples advance and retire, hands 
joined (four bars). All cross over into 
opposite places, each going to each other's 
left (four bars) ; petit tour forward (four 
bars) ; advance and retire (four bars), and 
return to places (four bars) ; petit tour (four 
bars). Side couples do likewise. 

Zrd Figure. — (Eight bars rest.) Top and 
bottom ladies cross over into opposite places 
(four bars) ; return, presenting left hands to 
each other, and right hands to partners, as 
in La Poule (four bars) ; pass round with 
v>artners into opposite places (four bars) ; 
petit tour backward (four bars) ; vis-a-vis 
couples hands across, round (six bars) ; 
retire (two bars) ; top and bottom ladies 
cross over (four bars) ; ladies cross again, 
giving each other left hands, and right to 
partners (four bars). All pass round to 
own places (four bars) ; petit tour backward 
(four bars) 

^th Figure. — (Eight bars rest.) Top couple 
lead round inside the figure (eight bars) ; 
petit tour forward and backward (eight bars) ; 
advance to opposite couple ; the gentleman 



turns half round without quitting his partner, 

and gives his left hand to opposite lady ; the 
two ladies join hands behind gentleman (four 
bars) ; in this position the three advance and 
retire (eight bars). The gentleman passes 
under the ladies' arms ; all three pass round 
to the left, with second step of Cellarius, 
the opposite lady finishing in her o^ti place 
(four bars). The top couple return to places 
(four bars) ; petit tour forward (four bars). 
Opposite couple and side couples do like- 

^th Figure. — (Eight bars rest.) Top and 
bottom couples half right and left (four 
bars) ; petit tour backward (four bars) ; 
half right and left to places (four bars) ; 
petit tour backward (four bars) ; vis-a-vis 
couples hands round to opposite places (four 
bars) ; petit tour forward (four bars) ; hands 
round to own places (four bars) ; petit tour 
(four bars) ; right and left (eight bars). 

Side couples do likewise. 

Finale. — Grand round all to the left, and 
then to the right (sixteen bars) ; grand 
chain, as in the Lancers, with first step of 



Cellarius (sixteen bars). But if there are 
more than eight in the quadrille, the music 
must be continued until all have regained 
their places. 

N.B. — Music contuiues during rests." 

XII. — The PoLicA Mazourka. 

The step of this dance is, as its name 
impHes, a mixture of the steps of the Polka 
and the Mazourka. It is a favourite dance 
witli the Parisians, but has never been very 
popular in England, probably from the same 
reasons which prevented the success of the 
Cellarius. Yet it is a pretty dance, and the 
step is easily acquired. We recommend it 
to the attention of our readers. The time 
is f , and quicker than that of the Cellarius. 

Gentleman takes his partner as in the 
valse. Figure en tournant. We describe 
the steps for the gentleman ; the lady simply 
reverses the order of the feet, using left foot 
for right throughout. 

Ist heat. — Best on right foot, with left 
foot a little raised behind, and slide left foot 
to the left. 



^nd heat. — Spring on the right foot, 
bringing it up to where left foot is, and 
raising the latter in front. 

*6rd beat. — Spring once more on right foot, 
passing left foot behind without touching 
the ground with it ; this ends first bar. 

^nd bar, 1st beat. — Shde left foot to the 
left, as before. 

2nd beat. — Spring on right foot, as before, 
and bring it up to the place of left foot, 
raising latter at same moment. 

beat. — Eall on the left foot, and raise 
the riglit foot behind ; end of second bar. 

Begin third bar with right foot, and con- 
tinue as before. You turn half round in the 
first three beats, and complete tlie circle in 
the second three. 

XIII.— The Redowa, oe Redova. 

The step of this valse somewhat resembles 
that of the Cellarius, and is used, as we liave 
seen, in dancing the Mazourka Quadrille. It 
is an elegant valse, not so lively as the Polka 
Mazourka, but, if danced in correct time, not 



too slowly, is very graceful and pleasing. 
The step is not so fifficult as that of the 
Cellarius : it is almost a Pas de Basque, with 
the addition of the hop. In all these dances, 
which partake of the nature of the Mazourka, 
it is requisite to mark distinctly the first and 
third beats of every bar, otherwise the pecu- 
liar character of the movement is completely 
lost. We describe the step for the lady as 
it is employed in the forward movement. 

\st Stand with right foot slightly 

forward; spring upon it, bringing it behind 
left foot, which is raised at same moment. 

2nd beat. — Slide your left foot forward, 
bending the knee. 

Zrd beat. — Bring your right foot, with a 
slight hop, up behind your left foot, raising 
the latter and keeping it in front. (One bar.) 

1*^ beat. — Spring upon your left foot, pass- 
ing it behind your right, and raising latter. 

2nd beat. — SHde right foot forward, bend- 
ing the knee. 

Zrd beat. — Bring left foot up to right, 
with slight hop, and raise right foot at same 
moment^ keeping it in front as before. 



When the figure en tournant (circular 
movement) is employed, the lady begins by 
sliding the left foot forward, and the right 
foot backward. Gentleman always does the 
same, with order of feet reversed. 

This dance has been very popular in Paris; 
in England it is now^ seldom seen. 

XIV.— The Schottische. 

The Schottische was introduced amongst 
us about the same time as the Polka Ma- 
zourka, but it received a much more cordial 
welcome, and has always been popular in 
England. Its origin is as uncertain as that 
of the Polka, and it is believed to be a very 
ancient national dance. It is a great favourite 
with the German peasantry; and although its 
name, Schottische, would seem to imply that 
it came from Scotland, there is no doubt that 
it is essentially German alike in character 
and in music. 

The step, although easy to learn, requires 
great precision. We w^ould recommend our 
readers to adhere throughout to the circular 



movement. Some dancers begin by fonr steps 
to tlie right, then back again, not turning 
until they commence the second half of the 
figure. But when many couples are dancing 
this practice involves a risk of coUisions, and 
it is safer to begin at once with the figure en 
toitmant. The second part of the step con- 
sists of a series of slight hops, which must 
be made exactly at the same moment by both 
parties, otherwise a break-do \^'n is inevitable. 
They should be executed as quickly as pos- 
sible, so as to avoid tlie jirjgmg effect which 
bad dancers impart to the Schottische. When 
well performed it is a very animated and 
elegant dance, forming an agreeable variety 
to the Polka and Yalse. 

The time is \ ; it should be played a good 
deal slower than the Polka : when hurried it 
becomes ungraceful and vulgar. The first 
and third beat in each bar should be slightly 

We proceed to describe the step as danced 
by the gentleman. 

Slide the left foot forward; bring right 
foot close up behind left foot. Slide left foot 



forward a second time. Spring upon left 
foot. Then do the same with right foot. 

left foot, and then with the right, you come 
to the second part, which consists of a series 
of double hops, two on each foot alternately. 
Hop twice on the left foot (one hop for each 
beat of the time), and half turn round ; then 
twice on the right, completing the circular 
movement. Eepeat the same through another 
four beats; then resume hrst step through 
the next tw^o bars, and continue to alter- 
nate them every second bar. You can also 
vary the dance at pleasure, by continuing 
the fiist step without changing it for the 
hops; or you can likewise continue these 
throughout several bars in succession; taking 
care, of course, to apprise your partner of 
your intention. Even when well and quietly 
danced, there is something undignified in the 
hopping movement of the second step ; and 
we have observed with satisfaction that for 
some time past it has been replaced by the 
step of the False a Deux Temps, which is now 
generally used instead of the double hops. 


)leted four steps, first with the 



XY. — La Yarsovienne. 

This is a romid dance for two, which, like 
the Polka Mazourka, is a combination of the 
steps of one or two other dances. Since the 
introduction of the Polka and the Cellarius, 
several dances have been invented wliich par- 
take largely of the character of both. La 
Yarsovienne is very graceful, and was popu- 
lar in England a few years ago. It is not 
often danced now. 

Take your partner as for the valse. Count 
three ui each bar. Time much the same as 
in Polka Mazourka. The music is generallv 
divided into parts of sixteen bars each. The 
step for the gentleman is as follows in the 
first part : — 

SHde left foot to the left ; shghtly spring 
forward with right foot, twice, leaving the 
left foot raised behind, in readiness for next 
step. (1st bar.) Repeat the same. (2nd 
bar.) One polka step, during which turn. 
(3rd bar.) Bring your right foot to the 
second position, and wait a whole bar. (4:th 
bar.) Jiesume first step with right foot, 



and repeat throughout, reversing order of 
feet. Lady, as usual, begins with her right 
foot, doing the same step. 

Second step hi second part, \st bar. — Gen- 
tleman, beginning ^nth his left foot, does 
one polka step to the left, turning partner, 

'2nd bar. — Bring right foot to the second 
position, and bend towards it ; wait a whole 

2>rd bar. — One polka step with right foot 
to the right, turning partner. 

4M bar. — Left foot to second position; 
bend towards it, and wait as before. 

Third joart. — Take three polka steps to 
the left. (This occupies three bars.) Bring 
right foot to second position, and wait one 
bar. Repeat the same, beginning with right 
foot to the right. 

XYI.— The Gorlitza. 
This is a Polish round dance for two, 
which was brouglit over to London from 
Paris in 1851. Like the Yarsovienne, it is 
now seldom seen beyond the walls of the 
dancing academy. Perhaps one reason of 



its short-lived popularity is to be found in 
the fact that it is rather troublesome to 
learn, the steps being changed continuallj. 
The time is the same as that of the Schot- 
tische, but not quite so quick. Take your 
position as for the Polka. 

1st bar. — One polka step to the left, be- 
ginning Avith left foot, and turning half 

2nd har. — Slide your right foot to right ; 
bring left foot up close behind it, as in the 
fifth position ; make a glissade ^ith your 
right foot, ending ^'ith your left in front. 

?>rd bar. — S])riug on your right foot, rais- 
ing your left in front. Fall on your left 
foot, passing it behind your right foot. Glis- 
sade right with right foot, ending ^vith left 
in front. 

bar. — Again spring on right foot, 
raising left in front. Fall on left foot, pass- 
ing it behind right. Glissade to right, with 
your right foot ; end \nth same foot in front. 
Then repeat from beginning during the next 
four bars, but the second time be careful to 
end with the left foot in front. During the 



last two bars you turn round, but do not 
move forward. 

The step for the lady is the same, with the 
order of the feet, as usual, reversed ; except, 
liowever, in the last two bars of this figure, 
which both begin with the same foot. 

The Gorlitza, like the preceding dance, is 
divided into parts. The first part occupies 
eight bars of the music ; the second, sixteen 
bars. The step for the second part is as 
follows : — 

Isi four bars. — Commence with Polka Ma- 
zourka step, with left foot to the left, and 
turn half round. Then do the step of the 
Cellarius to the right, beginning with the 
right foot. Fall on left foot, keeping it be- 
hind right foot ; glissade with right foot, and 
end with same in front. 

Indfour bars. — Polka Mazourka with right 
foot to the right, and turn half round. Cel- 
larius step with left foot to the left. Pall on 
right foot, keeping it behind; glissade with 
left foot, bringing it behind. 

Repeat from beginning, which completes 
the sixteen bars of second half of the figure. 

r 2 



Lady does the same steps, with order of 
feet reversed. 

XYII.— The Yalse a Tkois Temps. 

Twenty years ago^ the Yalse (or as it was 
then pronounced. Waltz) was a stately 
measui'e, danced with gravity and delibera- 
tion. Each couple wheeled round and round 
with dignified composure, never interrupting 
the monotony of the dance by any move- 
ments forward or backward. They conse- 
quently soon became giddy, although the 
music was not played above half as fast as 
the valse music of our day. We are bound 
to admit that this stately fashion of waltzing 
was infinitely more graceful than the style 
whicli has superseded it. But having con- 
fessed so much, we may venture to add that 
tlie Yalse, as danced by the present genera- 
tion, possesses a spirit, lightness, and variety 
quite unknown to its stately predecessor. 

The old T\^altz was introduced to this 
country from Germany, where it has always 
been the favourite dauce of the people in 



all ranks and conditions. But although we 
adopted the step of their national waltz, we 
so entirely altered the time, that it became 
in our hands a totally different dance, which 
the Germans themselves would have found 
it difficult to recognise. At that period, 
"fast dancing" was unknown in England, 
and would have been regarded as highly 
indecorous. At its first introduction, the 
Waltz was received with great mistrust by 
the older portion of the community. If it 
was to be tolerated at all in correct society, 
it must at least be danced in a deliberate 
manner, consonant with the dignity of the 
English character. It was, therefore, taken 
at half its original tempo ; it ceased to be 
the giddy, intoxicating whirl in which the 
Germans deliglit, and subsided into the com- 
paratively insipid and spiritless affair known 
thirty years ago as the " German Waltz." 

We have already seen how complete was 
the revolution effected by the Polka in these 
old-fashioned ideas. But although we cannot 
regret the introduction of a more animated 
style of dancing, we are sorry that the old 



Waltz lias been so entirely given up. When 
restored to its original temps, the Value a 
Trois Temps is nearly as spirited as the False 
a Deux ; and twice as graceful. It has the 
additional advantage over tlie latter, that it 
contains in each bar three steps to three 
beats of the time ; whereas the Deux Temps, 
as its name implies, numbers only two steps 
in a bar of three notes ; and is thus incorrect 
in time. We venture to predict that the 
old Waltz will, at no distant day, be restored 
to public favour. We shall be heartily glad 
to welcome it once more, but on the con- 
dition that it shall be danced in the only 
manner which does justice to all its attrac- 
tions ; that is, as it is danced by the German 
peasants under the wide-spreading oaks of 
its own fatherland. We proceed to describe 
the step for the gentleman : the same, 
beginning with right foot instead of left, 
will apply to the lady. 

Gentleman takes his partner romid tlie 
waist with his right arm; his left hand holds 
Hers, as in the Polka. Lady places left hand 
6n his shoulder, and right hand in his left 



hand. Begin at once with figure en tour- 
nant. Time f ; one step to eacli beat. First 
beat in each l3ar should be slightly marked 
by the dancers. 

15^ heat. — Slide left foot backwards, 
towards the left. 

^nd beat. — Slide your right foot past your 
left in same direction, keeping right foot 
behind left, and turning slightly to the right. 

Zrd heat. — Bring left foot up behind right 
(one bar). 

\st heat. — Slide right foot forward towards 
the right. 

%id heat. — Slide left foot forward, still 
turning towards right. 

Zrd beat. — Bring right foot up to right, 
turning on both feet, so as to complete the 
circle (two bars). Remember to finish with 
right foot in front. Repeat from first beat 
of first bar. Gentleman always turns from 
left to right ; lady from right to left. 

The step of the old Waltz is simple enough; 
nevertheless some practice is required to 
dance it really well. Remember always to 
slide^ not to ste]^^ forward \ for the beauty of 



tliis valse consists in its gliding motion. It 
is not at first easy to dance swiftly and 
quietly at the same time ; but a little patience 
will soon enable yon to conquer that diffi- 
culty, and to do full justice to what is, in our 
o])inion, the most perfectly graceful of all 
the round dances, without a smgle exception. 

XYIII.— The Yalse a Deux Temps. 

"We are indebted to the mirth-loving 
capital of Austria for this brilliant Yalse, 
which was, as we have observed elsewhere, 
introduced to our notice shortly before the 
Polka appeared in England, and owed its 
popularity to the revolution in public taste 
effected by that dance. 

Although the Polka has gone out of 
fashion, the Valse a Deux Temps still reigns 
supreme ; but within the last two years a 
dangerous rival has arisen, which may perhaps 
drive it in its turn from the prominent posi- 
tion which, for more than twenty seasons, 
it has maintained. This rival is the New 
Valse, of which we shall speak in its place ; 



but "we must now describe the step of the 
Valse a Beiix Temps, 

We have already remarked that this Valse 
is incorrect in time. Two steps can never 
properly be made to occupy the space of 
three beats in the music. The ear requires 
that each beat shall have its step ; unless, 
as in the Cellarius, an express pause be 
made on one beat. This inaccuracy in the 
measure has exposed the False a Deux Temps 
to the just censure of musicians, but has 
never interfered with its success among 
dancers. We must caution our readers, 
however, against one mistake often made by 
the inexperienced. They imagine that it is 
unnecessary to observe any rule of time in 
this dance, and are perfectly careless whether 
they begin the step at the beginning, end, or 
middle of the bar. This is quite inadmis- 
sible. Every bar must contain within its 
three beats two steps. These steps must 
begin and end strictly with the beginning 
and end of each bar; otherwise a hopeless 
confusion of the measure will ensue. Pre- 
cision in this matter is the more requisite. 


ball-iioo:m guide. 

because of the peculiarity in the measure. 
If the first step in each bar be not strongly 
marked, the valse measure has no chance of 
making itself apparent ; and the dance 
becomes a meanmgless galop. 

The step contains two movements, a 
glissade and a chassez, following each other 
quickly in the same direction. Gentleman 
begins as usual with his left foot ; lady with 
her right. 

1st beat. — Glissade to the left with left 

2nd and Zrd heats. — Chassez in the same 
direction with right foot ; do not turn in 
tliis first bar. 

2nd bar, 1st beat. — Shde right foot back- 
wards, turning half round. 

^nd and Zrd beat. — Pass left foot behind 
right, and chassez forward with it, turning 
half round to complete the figure en tournant. 
Finish with right foot in front, and begin 
over again with left foot. 

There is no variation in tliis step ; but you 
can vary the movement by going backwards 
or forwards at pleasure, instead of continuing 



the rotatory motion. The Valse a Deux 
Temps, like the Polka, admits of a reverse 
step ; but it is difficult, and looks awkward 
unless executed to perfection. The first 
requisite in this Yalse is to avoid all jumping 
movements. The feet must glide smoothly 
and swiftly over the floor, and be raised from 
it as little as possible. Being so very quick 
a dance, it must be performed quietly, 
otherwise it is liable to become ungraceful 
and vulgar. The steps should be short, and 
the knees slightly bent. 

As the movement is necessarily very rapid, 
the danger of collisions is proportionately 
increased ; and gentlemen wlU do well to 
remember and act upon the cautions con- 
tained in the earlier pages of this little work, 
under the head of The Polka." 

They should also be scrupulous not to 
attempt to conduct a lady through this Yalse 
until they have thoroughly mastered the step 
and w^ell practised the figure en tournani. 
Awkwardness or inexperience doubles the 
risks of a collision ; which, in this extremely 
rapid dance, might be attended with serious 



The Deux Temps is a somewhat fatiguing 
valse, and after two or three turns round 
the room, the gentleman should pause to 
allow his partner to rest. He should be 
careful to select a ladj whose height does 
not present too striking a contrast to his 
own; for it looks ridiculous to see a tall 
man dancing with a short woman, or vice 
versa. This observation applies to all round 
dances, but especially to the valse, in any of 
its forms. 

XIX.— The New Yalse. 

This graceful variation of the valse move- 
ment has not long been introduced in Eng- 
land, and is not yet so universally popular as 
it promises to l3ecome. It was, however, 
much danced in London last year, and there 
is reason to believe that it will be the favourite 
dance this season. It is more elegant than 
the Valse a Deux Temps, and more spirited 
than the Cellarius. The tempo is slower than 
that of the ordinary valse. The step is ex- 
tremely simple. 

ball-room: guide. 


Gentleman takes his partner as for the 
False a Deux Temps. Eall on the left foot, 
and make two glissades with the right (1st 
bar). Repeat, reversing order of feet (2nd 
bar). Lady begins with her right foot as 
usual. The step is the same throughout. 
Figure en tournaiit. 

The peculiarity of this Yalse lies in its 
accent, which cannot be properly explained 
in words, but must be seen to be understood. 
We recommend our readers to lose no time 
in acquiring a correct knowledge of the New 
Valse. It is unquestionably the most easy 
and most graceful dance which has appeared 
of late years, and we are told on first-rate 
authority that it is destined to a long career 
of triumphs. 

XX. — Le Galop. 

The Galop, as its name implies, is the 
quintessence of all the "fast" dances. At 
the time of the Polka mania it was very 
much in vogue, and was almost as great a 
favourite as the Deux Temps, Although its 



popularity Las greatly declined of late, it 
generally occurs t\Yice or tlirice in the pro- 
gramme of every ball-room; and the music 
of the Galop is, like the dance itself, so gay 
and spirited, that ^'C should regret to see it 
wholly laid aside. The step is siroilar to that 
of the Deux Temps Yalse, but the time is |, 
and as quick as possible. Two cMssez steps 
are made in each bar. The figure can be 
varied by taking four or eight steps in the 
same direction, or by turning with every two 
steps, as in the Deux Temps ^ Like all round 
dances, it admits of an unlimited number of 
couples. Being, perhaps, the most easy of 
any, every one takes part in it, and the room 
is generally crowded during its continuance. 
A special amount of care is therefore neces- 
sary on the part of the gentleman to protect 
his partner from accidents. 

We have now described all the round 
dances at present in vogue. 

XXI.— The Cotillon. 

The CotiUoii is rarely seen in English ball- 



rooms, but on the Continent, especially in 
Italy, it is a great favourite. It occupies a 
somewhat similar position to our own Sir 
Roger de Coverley, being generally the con- 
cluding dance of the evening, in which every 
one joins. It can be prolonged at pleasure 
by the introduction of more figures, for it has 
no definite beginning or end. It is, in fact, 
more like a long game performed to the 
accompaniment of valse music than a dance. 

We shall describe the Cotillon as we have 
seen it in the palaces of Italy, where it is 
danced with enthusiasm, and diversified by 
an innumerable variety of figures, only a few 
of which we can undertake to remember. It 
is never commenced till towards the close of 
the ball, at so advanced an hour that all the 
sober portion of the assembly have retired, 
and only the real lovers of dancing remain, 
who sometimes prolong this their favourite 
amusement till a late hour in the morning. 

It is customary for gentlemen to select 
their partners for the Cotillon early in the 
evening, while the other dances are in pro- 
gress ; for, as it lasts so long a time, it is 



necessary to know beforehand how many 
ladies feel inclined to remain during its con- 

A circle of cliairs is arranged round the 
room, the centre being left clear ; the spec- 
tators stand behind the chairs, so as not to 
interfere with the dancers. Each gentleman 
leads his partner to a seat, taking another 
beside her. To these same seats they return 
after every figure, it being the etiquette of 
tlie dance that no couple should appropriate 
any chans but their own, taken at the com- 
mencement. "VMien the dancers are arranged 
round the room, the orchestra strikes up the 
spirited music of the Cotillon, which consists 
of a long series of raise movemiiiiits at the 
usual tempo of the Deux Temps. There are 
generally several leaders of the Cotillon, who 
who decide upon the succession of the figures. 
If there are many couples dancing, one leader 
attends upon a group of six or eight couples, 
to ensure that all shall take part. "We are 
aware of no fixed rule for the succession of 
the figures, which depends upon the caprice 
of the leaders. A good leader will invent 



new combinations, or diversify old figures: 
thus securing an almost endless variety. One 
of the most popular is the following : — 

Several gentlemen assume the names of 
flowers or plants, such as the honeysuckle, 
woodbine, ivy, &c. A lady is then requested 
to name her favourite flower; and the for- 
tunate swain who bears its name springs 
forward and valses off with her in triumph. 
It is usual to make one, or at most two, 
turns round the room, and then restore the 
lady to her owti partner, who in the mean- 
time has perhaps been the chosen one of 
another lady. All having regained their 
places, each gentleman valses with his own 
partner onee round the room, or remains 
sitting by her side, as she may feel inclined. 

Baskets filled with small bouquets are 
brought in. Each gentleman provides him- 
self with a bouquet, and presents it to the 
lady with whom he wishes to valse. 

Sometimes a light pole or staff is intro- 
duced, to the top of which are attached long 
I streamers of dift'erent coloured ribbons. A 
I lady takes one of these to several of her fair 


companions in turn, each of whom chooses a 
ribbon, and, holding it firmly in her hand, 
follows the leading lady to the centre of the 
room. Here they are met by an equal 
number of gentleman, likewise grouped 
around a leader who carries the pole, while 
each holds a streamer of his favourite colour, 
or that which he imagines would be selected 
by the dame de ses pensees. The merry 
groups compare notes : those who possess 
streamers of the same colour pair off in 
couples, and valse gaily round the room, 
returning to places as before. 

Six or eight ladies and the same number 
of gentlemen form in two lines, facing each 
Dther. The leading lady throws a soft 
worsted ball of bright col( at the gentle- 
man with whom she wishes to dance. He^ 
catches it, throws it back to the fair group, 
and valses off with liis partner. Whoever 
catches the returning ball, has the right 
to throw next ; and the same ceremony 
is repeated until all have chosen their [part- 
ners, with whom they valse round the room, 
returning to places as usual. Sometimes, a 



handkerchief is substituted for the ball ; but 
the latter is better, bemg more easily thrown 
and caught. 

Six or eight chairs are placed in a circle, 
the backs turned inwards. Ladies seat 
themselves in the chairs, gentlemen move 
slowly round in front of them. Each lady 
throws her handkerchief or bouquet at the 
gentleman with whom she wishes to dance 
as he passes before her. Valse round as 
usual and return to places. 

Sometimes a gentleman is blindfolded, and 
placed in a chair. Two ladies take a seat 
on either side of him ; and he is bound 
to make his selection without seeing the 
face of his partner. Having done so, he 
pulls the covering from his eyes, and valses 
off with her. It is a curious circumstance 
that mistakes seldom occur, the gentleman 
being generally suflSciently clairvoyant to 
secure the partner he desires. 

We have here described a few of the most 
striking figures of the Cotillon. We might 
multiply them to an extent which would 
equally tax the patience of our readers and 

G 2 



OTir own powers of remembrance; but we 
forbear. Enough has been told to show the 
graceful, coquettish character of the dance, 
which adapts itself admirably to the Italian 
nature, and is as much beloved by them as the 
Valse by the Germans or the Cachucha by 
the dark-eyed maidens of Spain. We should 
rejoice to see this charming stranger natural- 
ised in English ball-rooms. It is especially 
adapted to sociable gatherings, where most 
of the guests are friends or acquaintances. 

XXII.— The Spanish Dance. 

This pretty though now somewhat old- 
fashioned dance was, before the introduction 
of the Deux Temps and Polka, a principal 
feature in every ball-room. It is danced 
with the step and music of the Old Valse a 
Trots Temps, played slower than the music of 
the I)e?LV Temps. 

Sometimes the couples stand in two long 
parallel lines, as in a country dance ; some- 
times they are arranged in a circle. The 
leading gentleman must be on the ladies' 



side, and his partner on the gentlemen's side. 
Every fourth lady and gentleman exchange 
places, to avoid the necessity of keeping the 
other couples waiting. The whole set can 
thus begin at the same moment. 

Leading gentlemen and second lady ad^'ar C 3 
and retreat with valse step, and change 
places. Leading lady and second gentleman 
do the same at the same time. 

Leading gentleman and his partner advance 
and retreat, and change places. Second lady 
and gentleman do the same at same time. 
Leading gentleman and second lady repeat 
this figure ; first lady and second gentleman 
likewise, at same time. 

Leading gentlemian and first lady repeat 

\ same figure ; second gentleman and lady 

j repeat at same time. 

All four, joining hands, advance to centre, 

I anv3 retreat. Ladies pass to the left. Repeat 

1 three times. Each gentleman takes his part- 
ner, and the two couples valse round each 
other once or twice at pleasure ; the second 
lady and gentleman being left at the top of 

1 the figure, as in a country dance. Leading 



gentleman and partner repeat same figure 
with succeeding couple to end of dance. 

It is obvious that there must be an equal 
number of couples ; and that they must be 
arranged in sets of four, eight, sixteen, 
twenty, twenty-four, and so on. 

XXIII.— La Tempete. 

La Tempete was brought over to this 
country from Paris some years ago. It 
speedily became a favourite, and for several 
seasons was much danced in London and the 
provinces. It unites the cheerfulness of the 
quadrille with the sociability of the country 
dance; and when its lively figures are cor- 
rectly performed, it is both amusing and 

It is divided into parties of four couples, 
like the quadrille ; but their arrangement is 
different. Two couples stand side by side, 
facing their respective vis-a-vis ; there are 
not any side couples. As many sets of four 
couples can be thus arranged as the room 
will accommodate. Each new set turns its 



back upon the second line of the preceding 
set. Thus the dance can be the whole length 
of the room, but is only the breadth of two 
couples. The figure is as follows : — 

Place two couples side by side, the lady 
standing at the right hand of the gentleman. 
Place two other couples as their vis-a-vis. 
Next place two couples with their backs 
turned to the first set; two couples oppo- 
site them for their vis-a-vis; and continue 
arranging more sets of four couples accord- 
ing to the number of the dancers and the 
size of the room. 

First part. — All the couples begin at the 
same moment, by advancing and retreating 
twice, with joined hands. Pirst couples 
(that is, all whose backs are turned to 
the top of the room) cross, with hands 
joined, to the places of their vis-a-vis. The 
latter cross at the same time, but, separating, 
pass outside top couples to the top, where 
they jobi Jiands, return to own places, and 
back again to the top without separating; 
the top couples crossing separately at the 
same time outside the second couples. Top 



couples then join hands, and all return to 
their own places, second couples separating 
to allow the others to pass between them. 

Lady and gentleman in the centre of each 
line join hands, giving their disengaged hands 
to their two vis-a-vis. All four half round 
to the left, then half round back again to 
places. Meantime, the outside lady and 
gentleman perform the same with their re- 
spective vis-a-vis, making a circle of two 
instead of four. Circle of four give hands 
.'icross round ; change hands ; round once 
more, and back to places. Outside couples 
perform same figure in twos. All the sets 
perform tlie figure at the same moment. 

Second 'part. — All advance, retreat, and 
advance again ; all the top couples passing 
the second couples into the next line, where 
they re-commence the same figure, their 
former vis-a-vis having passed to the top, 
and turned round to wait for a fresh vis-a-vis ; 
gentleman always keeping lady at his right 
hand. An entire change of places is thus 
effected, which is continued throughout this 
figure, until all the top lines have passed to 


the bottom, the bottom lines at the same 
time passing to the top ; and then turning 
round, all go back again by the same method 
reversed, till all have regained their original 
places. The dance may terminate here, or 
the last figure may be repeated, at pleasure. 
When the first exchange of vis-a-vis takes 
place, the new lines at the top and bottom 
find themselves for a moment without a vis- 
a-vis ; but, at the next move forward, they 
are provided, and can continue the figure as 
above described. We extract from a con- 
temporary the following graceful variation 
in the first half of this dance : — " All advance 
and retire twice (hands joined). All vis-a-vis 
couples chassez croisez en double', each gentle- 
man retaining his partner's left hand ; eight 
galop steps (four bars) ; decJiassez eight steps 
(four bars) ; the couple on the right of the 
top line passing in iront of the couple on 
the left the first time ; returning to place, 
passing behind. Thus, two couples are 
moymg to the right, and two to the left. 
This is repeated. The vis-a-vis couples do 
likewise at the same time. This of course 



applies to all the couples, as all commence 
at the same time." 

La Tempete is danced to quick music, in 
J time. The step is the same as iu quad- 
rilles ; varied sometimes bj the introduc- 
tion of the galop step, when the couples 
cross to each others' places or advance into 
the lines of the next set. 

XXIY. — Sm Roger de Co^'ERLEY. 

We conclude our account of the dances 
now most in vogue with an old-fashioned 
favourite, whose popularity dates from a 
bygone age, and bids fair to survive the 
present one. Long may its cheerful rustic 
strains be heard in our ball-rooms, and prove 
we have not grown too fine or too foolish to 
take pleasure in the simple dances of our 
ancestors. Sir Ex)ger de Coverley is always 
introduced at the end of the evening; and 
no dance could be so well fitted to send 
the guests home in good humour with each 
other and with their hosts. We describe it 
as it is danced in the present day, shghtly 

ball-room: guide. 


modernised to suit the taste of our time. 
Like the quadrille, it can be danced with 

j equal propriety by old or young ; and is so 
easy, that the most inexperienced dancer 
may fearlessly venture to take part in it. 
Form in two parallel lines ; ladies on the 

I left, gentlemen on the right, facing their 

j partners. All advance ; retreat (which occu- 
pies the first four bars) ; cross to opposite 
places (four bars more) ; advance and retreat 
(four bars) ; re-cross to places (four bars). 
The lady who stands at the top, and the 

i gentleman who stands at the bottom, of each 

! line, advance towards each other, courtesy 
and bow, and retire to places. The gentle- 

! man at the top and tlie lady at the bottom 
do the same. Lady at top and gentleman 
at bottom advance again, give right hands, 
and swing quickly round each other back to 
places. Gentleman at top and lady at bottom 
do the same. Top lady advances, gives 
right hand to partner opposite, and passes 

' behind the two gentlemen standing next to 
him. Then through the luie and across it, 
giving left hand to partner, who meets her 


ball-eoom: guide. 

half way between the two lines, having in 
the meantime passed behind the two ladies 
who stood next his partner. Lady then 
passes behind the two ladies next lowest ; 
gentleman at §ame time beliind the two gen- 
tlemen next lowest ; and so on all down the 
line. At the bottom, lady gives left hand to 
her partner, and they promenade back to 
places at the top of the line. (This figure 
is frequently omitted.) Top couple advance, 
courtesy and bow, then lady turns off to the 
riglit, gentleman to the left, each followed 
by the rest of her or his line. Top couple 
meet at the bottom of figure, join hands, and 
raising their arms, let all the other couples 
pass under them towards the top of the line, 
till all reach their own places, except the 
top, who have now become the bottom cou- 
ple. Figure is repeated from the beginning, 
until the top couple have once more worked 
their way back to their original places at the 
top of the line. 

Throughout this little work we have endeavoured 
to avoid as much as possible the use of rrench words, 
and to give our directions in the plain mother tongue. 
Nevertheless, there must always be certain technical 
terms, such as chassez croisez, glissade, &c., &c., for 
which it would be difficult to find good English 
equivalent. We therefore subjoin a Glossary of all 
such words and expressions as have long since been 
universally accepted as the accredited phraseology 
of the Ball-room. 

A vos places, hack to your otvn places. 

A la fin, at the e7id. 

A droite, to the right. 

A gauche, to the left, 

Balancez, set to your partner 

Balancez aux coins, set to the corners. 

Balancez quatre en ligne,/oHr dancers set in a line, 

joining hands, as in La Poide. 
Balancez en moulinet, gentlemen and their partners 

give each other right hands across, a^id balancez 

in the form of a cross. 
Balancez et tour des mains, all set to partners^ and 

turn to place' , {See Tour des mains.) 


Ballotez, do the same step four times without chang- 
ing your 'place. 

Chaine Anglaise, opposite couples right and left. 

Chaine des dames, ladies' chain. 

Chaine Anglaise double, double right and left. 

Chaine des dames double, all the ladies perform the 
ladies' chain at the same time. 

Chassez croisez, do the chass6 step from left to right, • 
or right to left, the lady passing before thegentle- 
mayi in the opposite direction, that is, moving 
right if he moves left, and vice versa. 

Chassez croisez et d^chassez, change places with 
partners, ladies passing in front, first to the 
right, then to the left, back to places. It may be 
either 2, q}X2itvQ—fo2ir couples — or les huit — eight 

Chassez k droite— gauche, move to the right— to 
the left. 

Le cavalier seul, gentleman advances alone. 

Les cavaliers seuls deux io\s, gentlemen advance and 

retire ticice withoiit their partners. 
Changez vos dames, change partners. 
Centre parti e pour les autres, th^ other dancers do 

the same figure. 
Demi promenade, half promenade. 
Demi chaine Anglaise, half right and left. 
Demi moulinet, ladies all advance to centre, right 

hands across, and back to places. 
Demi tour ti quatre,/o?(r hands half round. 
Dos-^-dos, lady and opposite gentleman advance, 

pass round each other back to back, and return 

to places. 

Les dames en moulinet, ladies give right hands 
across to each other, half round, and back again 
with left hands. 



Les dames donnent la main droite— gauche— leurs 
, cavaliers, ladies give the right — left — hands to 

En avant deux et en arri^re, first lady and \is-^-vis 
gentleman advance and retire. To secure brevity, 
en avant is ahvays understood to imply en arri^re 
when the latter is not expressed. 

En avant deux fois, advance and retreat twice. 

En avant quatre, first couple and their vis-^-vis 
advance and retire. 

En avant trois, three advance and retire, as in La 

Figurez devant, dance before. 

Figurez ^ droite— ^ gauche, dance to the right— to 
the left. 

La grande tour de rond, all join hands and dance 
completely round the figure in a circle back to 

Le grand rond, all join hands, and advance and re* 
treat twice, as in La "Finale. 

Le grand quatre, all eight couples form into squares. 

La grande chaine, all the couples move quite round 
the figure, giving alternately the right and left 
hand to each in succession, beginning with the 
right, until all have regained their places, as in 
last figure of the Lancers. 

La grande promenade, all eight for more) couples 
promenade all round the figure back to places. 

La main, the hand. 

La meme pour les cavaliers, gentlemen do the same. 
Le moulinet, hands across. The figure will explain 

whether it is the gentlemen, or the ladies, or both, 

who are to perform it. 
Pas de Allemande, the gentleman turns his partner 

under each arm in succession. 



Pas de Basque, a kind of sliding step fortcard, per- 
formed tvith both feet alternately in quick saC' 
cession. Used in the Redowa and other dances. 
Comes from the South of France, 

Glissade, a sliding step. 

Le Tiroir, first couple cross tvith hands joined to 
opposite couple's place, opposite couple crossing 
separately outside them; then cross back to 
places y same figure reversed. 

Tour des mains, give both hands to partner, and 
turn her round tvithout quitting your places. 

Tour sur place, the same. 

Tournez vos dames, the same. 

Tour aux coins, turn at the corners, as in the Cale- 
donians, each gentleman tuy^ning the lady ivho 
stands nearest his left hand, and immediately re- 
turning to his own place. 

Traversez, cross over to opposite place. 

Retraversez, cross back again. 

Traversez deux, en donnant la main droite, lady and 
vis-il-vis gentleman cross, giving right hand, as in 
La Poule, 

Vis-^-vis, opposite. 

Figure en tournant, circular figure. 

Dalsiel Brothers, Camden Press, Londoo, N.W